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Four hundred years after William Shakespeare's death, his works
continue to not only fill playhouses around the world, but also be
adapted in various forms for consumption in popular culture,
including in film, television, comics and graphic novels, and
digital media. Drawing on theories of play and adaptation,
Playfulness in Shakespearean Adaptations demonstrates how the
practices of Shakespearean adaptations are frequently products of
playful, and sometimes irreverent, engagements that allow new
'Shakespeares' to emerge, revealing Shakespeare's ongoing impact in
popular culture. Significantly, this collection explores the role
of play in the construction of meaning in Shakespearean
adaptations-adaptations of both the works of Shakespeare, and of
Shakespeare the man-and contributes to the growing scholarly
interest in playfulness both past and present. The chapters in
Playfulness in Shakespearean Adaptations engage with the diverse
ways that play is used in Shakespearean adaptations on stage,
screen, and page, examining how these adaptations draw out existing
humour in Shakespeare's works, the ways that play is used as a
pedagogical aid to help explain complex language, themes, and
emotions found in Shakespeare's works, and more generally how play
and playfulness can make Shakespeare 'relatable,' 'relevant,' and
entertaining for successive generations of audiences and readers.
From Medievalism to Early-Modernism: Adapting the English Past is a
collection of essays that both analyses the historical and cultural
medieval and early modern past, and engages with the medievalism
and early-modernism-a new term introduced in this
collection-present in contemporary popular culture. By focusing on
often overlooked uses of the past in contemporary culture-such as
the allusions to John Webster's The Duchess of Malfi (1623) in J.K.
Rowling's Harry Potter books, and the impact of intertextual
references and internet fandom on the BBC's The Hollow Crown: The
Wars of the Roses-the contributors illustrate how cinematic,
televisual, artistic, and literary depictions of the historical and
cultural past not only re-purpose the past in varying ways, but
also build on a history of adaptations that audiences have come to
know and expect. From Medievalism to Early-Modernism: Adapting the
English Past analyses the way that the medieval and early modern
periods are used in modern adaptations, and how these adaptations
both reflect contemporary concerns, and engage with a history of
intertextuality and intervisuality.
From Medievalism to Early-Modernism: Adapting the English Past is a
collection of essays that both analyses the historical and cultural
medieval and early modern past, and engages with the medievalism
and early-modernism-a new term introduced in this
collection-present in contemporary popular culture. By focusing on
often overlooked uses of the past in contemporary culture-such as
the allusions to John Webster's The Duchess of Malfi (1623) in J.K.
Rowling's Harry Potter books, and the impact of intertextual
references and internet fandom on the BBC's The Hollow Crown: The
Wars of the Roses-the contributors illustrate how cinematic,
televisual, artistic, and literary depictions of the historical and
cultural past not only re-purpose the past in varying ways, but
also build on a history of adaptations that audiences have come to
know and expect. From Medievalism to Early-Modernism: Adapting the
English Past analyses the way that the medieval and early modern
periods are used in modern adaptations, and how these adaptations
both reflect contemporary concerns, and engage with a history of
intertextuality and intervisuality.
Four hundred years after William Shakespeare's death, his works
continue to not only fill playhouses around the world, but also be
adapted in various forms for consumption in popular culture,
including in film, television, comics and graphic novels, and
digital media. Drawing on theories of play and adaptation,
Playfulness in Shakespearean Adaptations demonstrates how the
practices of Shakespearean adaptations are frequently products of
playful, and sometimes irreverent, engagements that allow new
'Shakespeares' to emerge, revealing Shakespeare's ongoing impact in
popular culture. Significantly, this collection explores the role
of play in the construction of meaning in Shakespearean
adaptations-adaptations of both the works of Shakespeare, and of
Shakespeare the man-and contributes to the growing scholarly
interest in playfulness both past and present. The chapters in
Playfulness in Shakespearean Adaptations engage with the diverse
ways that play is used in Shakespearean adaptations on stage,
screen, and page, examining how these adaptations draw out existing
humour in Shakespeare's works, the ways that play is used as a
pedagogical aid to help explain complex language, themes, and
emotions found in Shakespeare's works, and more generally how play
and playfulness can make Shakespeare 'relatable,' 'relevant,' and
entertaining for successive generations of audiences and readers.
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